BY NAMITA DOGRA SUDAN*
The Premise: A Murder, a Wedding & Maximum Mayhem
Directed by Tarun Mansukhani and produced by Sajid Nadiadwala, Housefull 5 sets off on a luxury cruise filled with five mismatched couples, mistaken identities, and a shocking murder scene right at the beginning.
The plot kicks off with a murder scene right at the beginning, setting the stage for a high-stakes comedy-of-errors. Don’t be late to the theatre, because if you miss the first few minutes, nothing afterward will make sense and honestly, it barely does even if you’re on time.
The cast is packed: Akshay Kumar, Abhishek Bachchan, Riteish Deshmukh, Sanjay Dutt, Jackie Shroff, Chunky Pandey, Johnny Lever, Jacqueline Fernandez, Nargis Fakhri, Sonam Bajwa, Chitrangda Singh, and Nana Patekar.
Two Versions, One Gimmick: Housefull 5A vs 5B
The makers released two alternate versions, Housefull 5A and 5B, each claiming a different ending. The gimmick initially grabbed attention but flopped quickly when viewers realized that only the last 8–10 minutes are different, and the rest of the film is exactly the same. Unsurprisingly, most people weren’t interested in watching the same loud, confusing movie twice just for a slightly altered climax.
A Woman’s Perspective: Objectified & Outdated
As a woman watching Housefull 5, I felt more frustrated than amused. The actresses, despite their glamorous appearances, are reduced to nothing more than decorative objects, props in a circus of male egos. There’s no character, no presence, and certainly no respect. Yes, we get it, Bollywood has long flirted with sexism masked as humour. But here, it’s not just casual, it’s hard to ignore and harder to tolerate.
Even Telugu masala films often critiqued for stereotypical portrayals of women often give their heroines some emotional weight or at least a sense of protective dignity from the hero. Housefull 5 strips away even that. This isn’t just lazy writing, it reflects a deeper mindset problem. It’s not just uncomfortable, it’s unacceptable.
Akshay Kumar: Acting Like Akshay Kumar
Watching Akshay Kumar here is like watching Akshay Kumar trying to mimic Akshay Kumar. He’s attempting to recreate the magic of Housefull 1, Hera Pheri, and the Priyadarshan-era comedies, but what once came naturally now feels like a forced act. The spontaneity is gone, replaced by recycled expressions and predictable punches.
Abhishek Bachchan: Where’s Bunty?
Abhishek Bachchan, Where is the energy of Bluffmaster, the mischief of Bunty aur Babli, the swag of Dhoom, or the emotional grit of Guru? Where is the effort? Where is the energy? What we see now is an actor sleepwalking through his scenes, a far cry from the charismatic man who once brought heart and mischief to the screen.
Too Many Actors, Too Little Sense
The ensemble cast that is supposed to add flavour, but ends up creating a noisy mess. Instead of contributing to the narrative, they feel like extras in their own movie. Chaos may be the genre’s DNA, but here it feels more like confusion. Riteish Deshmukh tries, but ends up being “Riteish” more than a character. Nana Patekar plays a role that feels like a side note, more extended cameo than substantial.
Worse, there’s unnecessary confusion: Jackie Shroff is called “Baba” (which is Sanjay Dutt’s real-life nickname) and Sanjay Dutt is called “Bidu” (Jackie’s nickname). Was this supposed to be funny? Because it wasn’t.
Bobby Deol’s Surprise Cameo: The Real Showstopper
At a crucial point, Bobby Deol makes a surprise appearance and he steals the show. He’s appeared in two Housefull films before (Housefull 3 and Housefull 4), so I half-expected him or John Abraham to show up. Still, his sudden entry brought the loudest reaction from the audience: whistles, claps, even cheers. He brings swag, unpredictability, and presence everything this movie otherwise lacks.
Indian-American Audience Response: A Quiet Friday
I watched Housefull 5 at a theatre in the U.S. that usually draws huge Indian crowds on Friday nights, especially for major Bollywood releases. Surprisingly, it was only half full. There were no excited comedy lovers, no big family groups, no long concession lines. Just a quiet, hesitant audience and by the second half, many looked bored or distracted. That says a lot about the disconnect between the film and its viewers, especially in the overseas market that Bollywood often counts on.
Silver Linings: Visuals, Music & One Murder Mystery
Let’s be fair, there are a few bright spots:
- The murder mystery is genuinely interesting. It’s the only solid plot thread, and if the entire film had leaned into it, Housefull 5 might’ve actually worked.
- The cruise visuals are lavish. It gives travel vibes for those who haven’t experienced cruise life much like Yash Chopra’s old-school Switzerland moments.
- The music, too, works, but only in isolation. None of the songs enhance the story; they’re just inserted as standalone commercial breaks. That said, the audience might actually welcome them as relief from the noisy screenplay and cringe worthy jokes.
- The cameo by Bobby Deol is the only moment when the audience genuinely woke up.
- One surprising moment of joy? Seeing Nargis Fakhri back on the big screen. After her faded, almost forgotten appearance in Shiv Shastri Balboa, it was sad to see the Rockstar heroine reduced to the sidelines. But in Housefull 5, even in a limited role, she’s back where she belongs, in mainstream Bollywood.
Disclaimer: UA Certificate is Misleading
Though it carries a UA certificate, this movie is not suitable for family viewing. With its double meaning jokes, over-the-top objectification, and awkward innuendos, watching it with parents, kids, or elders will make you want to disappear into your seat. Avoid taking the family.
Final Verdict
Don’t watch it, especially if you’re a woman, or someone who values smart storytelling.
Housefull 5 is a regressive, noisy, gimmick-filled mess. Akshay Kumar is copying himself, Bobby Deol walks in and walks away with the only applause, and the rest of the film is as lost as its cruise passengers. The dual-ending trick doesn’t work, the actors are on autopilot, and the treatment of women is straight-up offensive. It’s time Bollywood stopped rewarding mediocrity disguised as franchise comedy.
Rating: 2 stars out of 5
*Namita Dogra Sudan is the entertainment news editor and video news producer of NRIPulse.
